Morning Routine

Rereading poet Kim Addonizio’s Ordinary Genius, I was again inspired by her advice to love what you first see. Such prompts don’t always work for me because I’ve found similar advice in other books on writing. But this time it clicked and here’s what poured out:

Purring and head bumping, Haiku leaps onto my bed to announce the time, 6:00 am, “Feed me, feed me, feed me,” although he has cat chow left in his white bowl. Black cat, white bowl yet nothing as clear as black and white, that sleek shadow on my bed mysterious and familiar. He speaks a tongue I cannot quite mimic and if I do come close, I don’t know what I’ve said, his vowel-rich voice varied and vague to me as Latin, though his language is not dead.
The house dogs think him a marvelous toy, until he takes refuge in a nook too small for them. His only work is hunting—a rare house mouse and the spiders, whom I respect as part of our small biome. I top off the food bowl to reassure him that, yes, ours is an opulent life full of Hills Science Diet for Indoor Cats. He eats two bites, bids me goodbye and makes his rounds: from the front window he supervises sunrise over the lake and takes stock of visitors at the bird feeder. He does not read and if I have a book in my hands, he nudges the nuisance  to clear space on my lap, which he thinks, I think, rightfully his alone for the asking.
And you will understand, please, that living with another species can lead to tolerance and peace. Toward those who see only utility—the rodent haters—Haiku is a demonstrator, demanding his rights to regular feeding, a warm spot on a soft bed, a measure of affection, safety and good health (Yes, he has health insurance.) and clean water in his bowl. Surely you see this house cat, once a stray, has a better life than many a refugee.

All About Poets #4

Michael Macklin was a good friend and a fine poet. We both had MFAs from Vermont College and for several years we were both on the editorial board (that sounds far more formal than it was) of the long-lived poetry magazine, The Cafe Review, out of Portland, Maine. We both had chapbooks published by Moon Pie Press.

Thanks to Michael I learned the pleasure of drinking Tullamore Dew, part of our shared Irish-American heritage, straight up, no ice. When I decided to feature Michael on this blog, I thought that I should again read his poems. Having recently culled my collection of poetry books, I confidently went to the M shelf and … what? No copy of Driftland? That made no sense. I would never have discarded that beloved book.

Well, if idiocy was the inevitable diagnosis, I’d work around that. I went online, found Moon Pie Press, ordered a copy, hit PayPal and send. Whew! Waiting for the book would delay the blog post, but I had no choice. However, I’m not the sort to lose a treasured book, so I went again to the shelf and what? There, nestled beside Montale was Macklin, where he belonged.

I’m not often mystically minded, but I swear that I heard Michael’s laugh. Hide the book until I’d bought another, a wee prank, eh? Of course, Michael was a true son of the Emerald Isle despite his birth in Michigan. When I left Maine to relocate to Colorado, he gave me a teddy bear, two bird feathers—one from a flicker and one from a crow—and said that he had commissioned three crows to attend me in my travels. To this day, a decade after we parted, I often see a trio of crows nearby.

Fate generously allowed me to have Michael in my life for years, but fate is also a mean trickster. Michael died in his sleep when he was volunteering at a residency at our alma mater, VCFA. How awful and how appropriate that he would die in that community of poets. People loved him and he loved people. He taught poetry at the private school where he was also the main carpenter. He left behind his wife, his son, his beloved dog—Murph—and his love for the coast of Maine. Yet, in truth, he’s never far away.

 

 

 

You can find Michael’s book on the website for Moon Pie Press and a copy of The Café Review dedicated to him here: www.thecafereview.com.

Persistence & Politics

Regular readers here will recall that from time to time I urge them to READ FOR EQUALITY. In our fractured, limping-along democracy this continues to be a responsibility, although some days I wonder why I bother.

Then I read something like Tracy K. Smith’s new book, Wade in the Water, and I’m reawakened to the power of creative writing. Smith uses as some of her poems verbattem letters written by black soldiers in the War Between the States. (It was anything but civil.) That we have a black female Poet Laureate of the US matters too.

Now I’m reading Zora Neale Hurston’s  Barracoon: The Story of the Last “Black Cargo,”  written in 1927 about Cudjo, an African who entered the US as a slave in 1859. The book was just published in 2018. Why it took so long to have this on my library shelves, I cannot fathom, but thanks to an astute librarian and Alice Walker, it’s finally available.

I remind myself, too, of Harriet Beecher Stowe and Uncle Tom’s Cabin written by “the little woman who started this big war” in President Lincoln’s words, more or less.

And there’s Nellie Bly, who, in Ten Days in A Mad-House, wrote about the  rotten mental health care in this land of the free and helped bring about reforms in that milieu.  And lest we forget, Upton Sinclair’s The Jungle brought about change in the meat-packing industry and led to our Pure Food and Drug Act and the Meat Inspection Act. Both of these two matter to us all, an issue of equality between the haves and have-nots, the powerful and the powerless.

When you think that what we do as writers doesn’t matter, read these books and others like them and again give your gifts to a sore and tired world. Even if you provide respite from worry, it’s important. Just do it, persist–please.

All About Poets #1

After many years as part of a tangible community of writers, looking back I know how fortunate I’ve been to meet many fine poets (and a few not so fine). This is the first of a series of remembrances of poets I’ve known.

Robert Creeley has a prominent place in my pantheon of poets. Is his soul aramble? There’s probably a reason why he has risen first to the top of the list. If you’re there, you are welcome, Bob.

I knew of him when I enrolled in a poetry class at St. Mary’s College near Ft. Leavenworth, Kansas. When the class first met the instructor, an anonymous man whom I remember not at all, except for his question: “Is this a poem?” And he read Creeley’s “I Know a Man.”  (You can see the poem here: https://www.poetryfoundation.org/search?query=I+Know+a+Man.)And I replied with ignorant certainty, “Sure.” But then I had to defend my belief.

To this moment it’s hard to break it down, but it looks like a poem and acts like a poem, so it’s not a duck. It’s full of ironic speech–calling the man John, who is not John, the suggestion that a car might help them live through the coming dark, and the revelation that the speaker is at that moment driving, but not well.

I can read it as metaphor–the speaker knows and wants to escape the dark, which confuses him, makes him unaware of where he is and what he’s doing. But, aha, more delightful, it puts me right into the experience of The Driver and Not John. Takes me out of my floral easy chair and into the back seat of that careening car.

Bob was a good one. In Maine we claimed his as one of our own. The Preface to his Selected Poems (University of California Press, 1991) is signed “Robert Creeley, Waldoboro, Maine, August 14, 1989.” Three times I heard him read locally, once in a hollow room where he seemed far away, though I was in the front row. That time he read poems about his family. (He claims in that preface that Robert Graves considered him a “domestic poet.”) Maybe he read “I Love You.” It’s about his Aunt Beatrice. Or “Four Years Later,” about his mother’s death. I can’t say for sure. And there was a reading at the State Theater on the corner of High and Congress Streets in Portland. I was there with Patrick Murphy, the “napkin poet” of Portland and a friend of Bob’s. Creeley looked up to  our back row seats and said, “Pat, can you hear me up there?” I was proud to be at least in the penumbra of Bob’s vision.

Another time he read at an art gallery on Munjoy Hill, poems about Helsinki and his then current wife. It was a crowded venue with wine after. Bob and I sat under a table and talked about a line of his, which I was, he said, misinterpreting. He smiled as he said that. I remember the smile, though not the line. 

My Creeley connection had actually started in the fall of 1984 in Tuscaloosa, Alabama. My friend and co-author Beverly Rainbolt and I went to a poetry conference at the university, star struck. We breathed the same air as Creeley, Denise Levertov, Gerald Stern, Louis Simpson and Charles Bernstein. Our real goal, in addition to breathing along with the talent, was to put a copy of our joint chapbook, Visible Progress, into Creeley’s hands. We tracked our prey to the sidewalk between readings and scored a direct hit. He was polite and accepted the “gift” that we forced on him. And after that conference Beverly and I went back to our weird work at the arts center we had created in an old warehouse in Shreveport.

Within a couple of weeks came a brief letter from Creeley praising our work, and signing off with his customary “Onward!” I have that letter and the envelope framed and hanging on my wall. Some time afterward I left Shreveport to return to Maine and Beverly moved to New Orleans, and that was that.

(See you soon with a piece about Lucille Clifton.)

Stuck? Go with it!

No one I know proceeds through a writing project without the occasional stutter step. Sometimes I fall, not from grace, but a face plant. Dry docked, shut down, blocked. Ouch! And that’s just the day that some skeptic asks how the book is selling, or when I’m doing a public reading. All I can do is shrug and own my stalled “career.” It’s momentarily embarrassing, a suggestion that, as my inner critic sometimes reminds me, I’m not really a writer. A real writer has an agent, an editor, a PR person, and a house on a hill. So what am I doing living in a basement apartment (which I actually like) and counting my dimes and dollars?

This angst is part of creative writing, as opposed to the popular image of authorship. My “ship” is a dinghy dragged up on the shore until I push it back into the water and take up the oars again. And row, maybe with no destination but an intent to go where the tide takes me. Just see what’s there and enjoy the sun and the breeze. It’s not a lost day if all I do is journal, muse on paper. (Hmm, that sounds like a line for a poem, or a new sandwich.)

If you too get stuck, just go with it. You might need a break, but I doubt you’re broken.

This One’s for the Birds

The workshop at Columbine Poets of Colorado today featured poems in honor of The Year of the Bird. This year marks the 100th anniversary of the Migratory Bird Treaty Act, a conservation measure prohibiting the “pursuit, hunt, take, capture, kill or sale” of migratory birds in the US.

It has nothing but coincidence to do with the fact that this week I started circulating a poetry manuscript titled The Gift Bird. I will, however welcome whatever synchronicity ensues. I’ve become more and more fascinated by birds and I have many, many poems that refer to birds. In honor of all this avian coincidence, I offer you a list of some of my favorite books about birds.

Ackerman, Jennifer. The Genius of Birds

Barnes, Simon. How to Be a Bad Bird Watcher

Barnes, Simon. The Meaning of Birds

Cocker, Mark. Birders: Memoirs of a Tribe

Leck, David. The Life of a Robin

Lorenz, Konrad. King Soloman’s Ring

Moss, Stephen. A Bird in the Bush: A Social History of Bird Watching

Nicolson, Adam. The Seabird’s Cry

Peattie, Donald Culrose, Ed. A Gathering of Birds: An Anthology of the Best Ornithological Prose

Rothenberg, David. Why Birds Sing

Tudge, Colin. The Bird: A Natural History of Who Birds Are, Where They Came From, and How They Live

Young, Jon. What the Robin Knows

For the Love of Libraries

I carry a wallet full of library cards. You never know when you’ll need a book. My libraries include Anythink Wright Farms, in Thornton, Colorado. I’m there most Mondays when they open at 9:30. I was there yesterday; that’s how I start my work week. And there’s no predicting what might be going on. Yesterday, having coffee with my friend at the library cafe–yes, in the library there’s a cafe–and my librarian friend, Laura, came to say hello and tell us that there were goats out in the playground. Yes, this library has a huge playground adjacent to the children’s room. And there were goats! I love goats. The cover art on one of my poetry books, Two Gun Lil, features me as a child with a goat under my arm.

My first library was in Harmony, RI, a single room behind the fire station. This small but mighty place had an important effect on me. I cannot imagine my life without books in an almost limitless supply. Soon I’ll tuck another library card into my wallet for my annual trip to Maine, where I’ll visit the Berry Memorial Library in Bar Mills. I hold card number 345. It’s a small town.

This afternoon I’ll go back to Anythink to see “Birds of Prey with HawkQuest.” I’m crazy for raptors and welcome the chance to see them up close. Up close and live will be an owl, eagle, falcon, hawk. In a library! A few weeks ago there were baby chicks in a heated tub. Thursday evening I’ll be there again to hear Colorado’s Poet Laureate, Joseph Hutchison read from his newest book, Eyes of the Cuervo/Ojos del Crow.

I’ve said it before, but it’s important: Ben Franklin gave the USA a marvelous gift, although libraries have changed their services over the years since he hired a librarian to care for books that Ben and friends shared. Patience and Fortitude, the marble lions, still sit in front of the NY Public, mecca of sorts. I think of them often, take comfort that they endure. If you haven’t been to a library this week, go. It will do you good.